What are the most important elements to have on your resume? Hear some responses and insights from the folks that do the hiring about what's crucial to be a strong contender in this tough market. Joan Kim reports.
What must you have on your résumé to ensure that you'll get in the door for an interview? And what does it really take to get the job? What are the folks behind the desks looking for? What is most important? With the development of new tools and the many changes taking place in the animation industry is there anything that an applicant absolutely needs to include on their résumé to make sure they will be considered? The dramatic shift from traditional to tradigital and digital production has potential job applicants puzzled over what today's animation employers are looking for. Here are some responses and insights from the folks that do the hiring about what's crucial to be a strong contender in this tough market.
Throughout its history, Blue Sky Studios has maintained a single-minded focus on creating high quality imagery, while upholding the highest production standards. Our animators work from a foundation of classic animation principles and are adept in Maya. When searching for animators, talent and passion are paramount over academic accomplishment.
When reviewing reels we look at the timing, acting and posing of the characters. The most important thing to remember when pulling together a reel is that one must concentrate on the area in which one is interested. Animators should focus on animation and not worry about the textures or lighting of their piece.
For those just starting in the field, the easiest way to "break in" is to find schools that have relationships and good track records with placing interns/graduates in one's field of interest -- whether that be games, animation, stop-motion, etc. One should make sure to take courses including fine arts, animation, life drawing, film classes (filmmaking, storyboarding, video editing, special effects -- anything around making and understanding films) and acting classes to help understand movement.
Laura A. BellantoniHuman Resources SupervisorBlue Sky Studios
In selecting a potential hire, we first look at the artist's ability exhibited in their portfolio or reel. Secondly, we'll look at the list of software programs on their résumé, which they're knowledgeable in since we're often looking for a specific program, such as LightWave or After Effects. Thirdly, we'll look for their range of professional experience.
Obviously, different skills are needed for different artistic areas. Basically, we want to see that you are oriented toward the kind of product we create here, so you'll be able to produce and contribute freely, from the heart. Plugging into people's instincts and interest delivers the best work.
Kat FairHead of RecruitmentNickelodeon Animation Studio
Well, it is essential to have artistic talent and passion for the position that you are seeking. Having an eye for detail and a good sense of composition is what I look for first. Past experience, and the ability to work in a number of mediums and styles, would run a close second. Any computer skills are always an added bonus, but I tend to look at it as an added spice rather than the main ingredient. I am often surprised when I receive resumes and reels that focus more on computer skills rather than artistic ability. I consider somebody with an overall understanding of the process and art history in general, as opposed to an artist well versed in the latest software. The ability to communicate and knowledge of art will always take you a long way. Ultimately it is about the applicants' ability to produce beautiful work on a consistent basis and in a timely fashion.
One last thing, a fancy résumé never grabs my attention. Short, sweet and simple. Let your reel and experience do the talking for you.
Leonard VasquezStudio ManagerAcme Filmworks
One of, if not, the most important characteristics we look for in a 3D artist is the overall feeling for color and composition fully expressed in their work. A candidate always should be able to show at least a few examples they've created by and for themselves. The presented work has to show the commitment and motivation of the candidate, not a projection of his ego. Perfectionism is not obligatory, but much appreciated.
Strong drawing skills are not necessary but a strong bonus. If an artist excels in drawing skills, even the knowledge of 3D software is not a must. However, note that being familiar with an extensive range of software is considered an enormous added value.
The type of software an artist uses is irrelevant, as long as the person is willing to use a variety of software. In addition, we look for someone who can keep an open mind to critics and enjoys being part of a constructive and positive thinking team.
Rudy VerbeeckCEO and Co-founderImagination In Motion
Two things: Talent and the ability to play nicely with others.
In addition to having stop-motion and cel animation departments, curious pictures does 3D and 2D CG animation so we're always on the lookout for character animators, TDs and compositors. In finding artists, résumés hardly get looked at. A good reel is the only thing that counts. While favorites do exist, we're not a software specific house. Our staffers are mostly multilingual in that capacity. Hence for new hires we will watch all reels and just look for the pure screaming talent that exists in the obvious -- good performance from animators, believable comps from compositors, etc. We also like to find people who bring in experience from other areas. We have CG artists on staff who came from cel animation, architecture, painting and even the vaulted task of wedding videography.
Also, as a rule we do not bring an artist on staff unless we already have had an opportunity to work with them on a freelance or short term basis. We need to be sure that they fit well into our happy little group. We look for problem solvers who take initiative, people who can think outside of the box, as well as know to sometimes look beyond CG to find solutions.
On top of all that, serious interest in snowboarding is a plus.
Boo WongHead of CGcurious pictures
Regardless of our industry treating computer technology as an indispensable tool in aiding us in what we do, the fundamental basics still apply when evaluating potential employees. These are drawing talent, dedication/enthusiasm and the ability to work effectively with others. Mind you, we're a small studio specializing in 2D animation, but we are entirely digital in our method of converting our "hands on" approach to animation. I'd be attracted to a résumé that includes PhotoShop, Premiere, CTP, etc., but I'm still going to look for basic art and film talent, lots of life drawing and initiative in completing their own projects. We work in several design and animation styles appropriate for any given project. A lot of the time we're in the midst of developing an animation approach that's never been done before, so I need people that are flexible and come without preconceived notions of how something should be done. I think that's why I like the craft so much. It's the artist/creator/visionary that matters -- not the technology.
J.J. SedelmaierPresident and DirectorJ.J. Sedelmaier Productions, Inc.
Mainly we are looking for stop-motion animators. First of all we usually need an up-to-date demo-reel of their last work in this field of business and a CV. In addition, we talk with the animators about what they did on the production that the demo-reel didn't really tell us. Sometimes we get a reel and the actual work of the animator was just a small part of the films. Besides this we also need statements from the producer or a reference and credits. But, in the end the best way to get a sense of the animator is to speak directly and have a conversation with them. After that we create a shortlist of animators. Before we start the project we invite the animators for final test-animation. At this point the director and director of animation will be together with the animators. The test will take 2-3 days and the director and director of animation will give a final statement about the skills and experience of the animators (it's like a test at art school). The final test is very important in getting a clearer understanding for the time schedule that we will need to put together later on in the production of the show. The schedule says something about the output per day and the length of the production. Young animators are usually slow in the beginning and they get progressively faster toward the end. Animators with more experience are fast from the beginning but they may get tired after awhile. Generally, young animators are willing to learn a lot. The final crew will be a mixture out of both, young and experienced animators.
For an animator we look on the demo-reel to see the quality of the character action. We want to see how the animator thinks as an actor. Also important is the technical standard in terms of puppet movement, smoothness and output of animation per day. In the end experience proves to be very important, and will be visible through the work they did on the CV (how many projects per year tells a lot about that -- because the animator needs to be in training). Also a stop-motion animator should know some technical tools, like the video-line test, handling a camera (35mm or digital) and how to handle storage of the pictures, etc.
We only do a little bit of computer work -- for that I cannot say as much! But definitely, I would be interested in the software they have used, how long they needed to complete a project and how the project was organized.
Thomas SchneiderHead of Animationscopas medien AG
Joan Kim received her B.A. in English Literature from UCLA and is currently freelancing in Los Angeles completing writing and graphics related projects. Previously as a graphics consultant she produced several company reports and manuals and continues to pursue an education in computer graphics.
